As a seasoned animation enthusiast who has traversed the fantastical realms of countless cel-shaded adventures, I must say that “Into the Wonderwoods” is a delightful journey through a whimsical forest filled with enchanting characters and captivating visuals. The film’s heartwarming storyline, albeit reminiscent of timeless classics like “Alice in Wonderland,” offers an endearing twist that appeals to both the young and old.
On a hectic morning, while his mother is trying to focus on a work call and his father is stumbling over breakfast preparation, young Angelo (played by Dario Hardouin Spurio), a boisterous boy known for his large imagination and distinctively shaped head, receives devastating news: his grandmother is gravely ill with uncertain prospects of recovery. This heart-wrenching revelation serves as the catalyst for the peaceful French animated film “Into the Wonderwoods,” which was brought to life by Oscar-nominated artist Vincent Paronnaud (“Persepolis”) and Alexis Ducord (“Zombillenium”), who adapted it from Paronnaud’s own 2016 comic book, published under the pseudonym Winshluss.
As a movie enthusiast, I found the initial event in “Wonderwoods” to echo the poignant stop-motion film “My Life as a Zucchini,” but soon it veered towards a comfortable, albeit captivating, family-friendly territory instead of exploring unconventional tones. In a desperate attempt to meet Grandma before it’s too late, we embark on a road trip with my older and younger siblings, but during a rest stop, I inadvertently get left behind when my parents resume the journey without me. Stranded, I decide to explore a mysterious wooded area lured by a gleaming object. To find my way back home, I’ll need to make some new acquaintances along the way.
A puzzling aspect is that although the family’s car comes equipped with a sophisticated AI assistant, manifesting as a lifelike hologram on the dashboard, Angelo himself lacks any personal electronic devices such as a cell phone. This seems to be a deliberate move by Paronnaud, given that the predicament could have been easily resolved through a simple call. However, it’s not implausible for a contemporary American child of his age to possess a tablet or smartphone. The creative decision might reflect the French ban on cell phone use in schools from 2018, and maybe Angelo’s parents have even more stringent rules regarding technology, considering the father’s apparent dislike of AI.
In this enchanting forest, Angelo encounters a diverse array of peculiar characters reminiscent of the multitude found in timeless stories like “Alice in Wonderland” or “The Wizard of Oz”. For instance, there’s a melody-loving yet gloomy frog, a squirrel yearning to fly, a volatile cloud struggling with its tendency to rage, an ogre moonlighting as a realtor, and some formidable ants. While many unusual allies are presented, most remain undeveloped beyond their initial quirks. However, among these secondary figures, Goouh, a colossal mound formed of earth and foliage who communicates with grunts somewhat like Marvel’s Groot, stands out. Not only is Goouh crucial to Angelo’s journey, but also, given its intricate texture and the shape-shifting properties of its fluid composition, it represents an impressive technical achievement.
In a twist that adds complexity to the situation, the arrogant adversary, Ultra (José Garcia), a man in shiny armor and a pale complexion, intends to annihilate the forest in search of a legendary fountain, rumored to bestow eternal life. His troops of one-eyed robots carry out his orders, while simultaneously staging performances to boost his fragile self-esteem.
In the movie “Into the Wonderwoods”, despite the filmmakers’ efforts to differentiate it from other similar stories about a child venturing into a magical realm, its plotline may feel somewhat predictable. However, its unique character designs and artistic choices manage to avoid appearing generic, unlike many computer-animated projects worldwide that can seem quite similar. The film showcases exceptional quality in its visual effects, with detailed backgrounds and dynamic character animation during the action sequences towards the end. The overall production, handled by veterans in animation and cartoons, is as technically proficient as one might expect.
Angelo’s imaginative ideas, along with any side stories delving into the thoughts or past of characters, are brought to life in 2D animation and have a style resembling comic strips. In these segments, the young protagonist envisions himself as a brave, muscular adult embarking on thrilling journeys. Similar to many contemporary computer-animated projects, Paronnaud and Ducord employ hand-drawn techniques only for scenes depicting alternate realities, ancient myths, or past events being recalled.
The combination of all these parts creates a movie that’s visually pleasing to watch, although it may lack a strong narrative pull. It serves as an acceptable choice for children’s entertainment, but it doesn’t possess the deeper emotional depth that can transform child-oriented productions into profound pieces of art capable of resonating with adults as well.
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2024-08-27 16:46